Scrabble can be a hard lesson for people like me, who are in love with language. We initially approach it, don’t we, thinking it will be an exercise in showing off our vocabulary, a chance to demonstrate how erudite we are? But we quickly learn that it’s really a brutal game of mathematics and that those players who have memorised a series of obscure, high-scoring two letter words are going to wipe the floor with us.
It’s this condumdrum that lies at the heart of Sometimes Always Never, a quirky and bitter-sweet story, written by Frank Cotterall Boyce and directed by Frank Hunter. It’s set in and around Formby, where Anthony Gormley’s distinctive sculptures haunt the sands, looking for all the world like bit-part players waiting for a chance to step into the action.
Alan (Bill Nighy) is a fascinating character, a retired tailor (the film’s title refers to the three buttons on a jacket and how you should wear them). He’s also a part time Scrabble-hustler. In the film’s downbeat opening, he meets up with his estranged son, Peter (Sam Riley) and the two of them go to have a look at the body of a dead man. Alan’s other son, Michael, you see, went missing years ago, following a heated argument over a game of… Scrabble, and Alan’s life since then has been dominated by his absence. The dead man turns out to be the missing son of Margaret (Jenny Agutter) and Arthur (Tim Mcinnery), and, relieved, Alan heads home. But a couple of days later, he arrives unnanounced at Peter’s house, where he pretty much moves in, much to the bafflement of Peter’s affable wife, Sue (Alice Lowe), and her teenage son, Jack (Louis Healy), with whom Alan ends up sharing a room. As the days pass and there is no sign of Alan going home, he begins to exert a peculiar influence over the family…
This is a deliciously oddball concoction which finds plenty of fun in the strange rituals that people employ in order to rub through their days. Nighy is as terrific as ever, though it does take a little while to adjust to the shock of hearing him speak with a Merseyside accent. Mind you, that also goes for Jenny Agutter, who manages to hide her own painfully plummy tones in a similar manner. It’s apparent from their first meeting that Alan and Margaret have some chemistry between them.
Despite its charms, the film suffers a little from an inconsistency of tone. For instance, an early scene where Alan and Peter appear to be driving in a cardboard cutout car is a delight, but this approach isn’t used anywhere else – and a scene featuring Alexi Sayle as a random fisherman doesn’t really add anything to the story. Furthermore, any film that’s lucky enough to have Alice Lowe in the cast really ought to find a little more for her to do but, these reservations aside, this is mostly a cleverly judged cocktail of wry chuckles and poignant observations.
Not exactly earth-shattering stuff, then, but – in its own way – a satisfying and rather unique cinematic experience.